Estimated from our difficulty score, not taken from an exam syllabus. Checked against 333 works on the ABRSM syllabus: the exact grade is right 7 times out of 10, and within one grade 99 times out of 100.
Difficulty estimate by MusicCoach on a scale of 1 to 100.
Most works cluster between 45 and 65: a small score gap often marks a real step. The highlighted bar shows this work among those for the same instrument.
The MusicCoach difficulty measures a work's overall demands (technique, reading, stamina) on a shared 0-100 scale, consolidated from editorial and pedagogical reference points (Henle, exam syllabuses, curation) and our own analyses. It measures neither musical value nor the practice time YOU will need: two musicians of the same level can experience the same work very differently depending on their strengths (hands used to octaves, quick sight-reading…). The confidence reflects how many reference points sit behind the score and how well they agree — a lightly documented score is flagged “to validate”. For a truly personal bearing, the diagnostic and your space compare each work to YOUR estimated level, which the score alone cannot do.
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Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
The safest next step.
A genuine step up, without a jolt.
A useful leap with guided practice.
This piece conveys a cheerful yet solemn dance-like character, with repeating figures that call for crisp, light articulation rather than heavy romantic expression. You will specifically face "Ornements baroque (3.1/5)", which here requires quick, well-placed trills and mordents executed by small finger and wrist motions so the ornaments remain clear without weighing down the flow, and "Reading bass clef (3.1/5)", since the left hand often carries an independent bass line demanding reliable reading of lower ledger notes and confident jumps and chord attacks. Placed in the Baroque period and indexed in the BuxWV catalogue, the piece is representative of the short chorale/keyboard treatments found in the North German tradition of the late 17th century. I do not list a reference interpretation because I am not completely certain of a specific authoritative recording for this work.